A group of Persons

On one side of the disc is engraved the phrase: “What beautiful light today.” On the other: “You can feel spring returning.” Surrounding them are the logos of companies active in the biotechnology, artificial intelligence, and defense industries. In short, some of the joys of our age. If we were to weigh these two approaches to the world on a scale, which side would tip the balance? There will surely be a difference of a few grams—or perhaps a few tons—we’ll have to wait and see...

Photogtraphs: Francesca Pascarelli

Illustration invitation: Marco Fratarcangeli

With Giorgia Accorsi, Matteo Baccino, Emma Brunelli, Anna Budkova, Alessandra Cecchini, Eirene, Luca Di Terlizzi, Axel Gouala, Anica Huck, Stéphane Lambion, Martha Micali, Caterina Flaminii Minuto, Alberto Montorfano, Tetiana Mykhailina, Veronica Neri, Alice Papi, Samantha Passaniti, Matteo Patrevita, William Pilè, Yoann Van Parys 

Would you make a good sheriff?
At first, there was some hesitation about the format.
How could we conceive of bringing together five artists invited to exhibit together—without them forming a collective in the strict sense of the word?
A skewer?
A hamburger?
A musical score?
An exhibition?
Alignment, superimposition, regulated simultaneity, simple proximity?
Then the drawing appears: a saloon mirror in which five cowboys have each fired a bullet.
Each impact bears the initial of the shooter.
But it is not a neutral glass.
It is a mirror.
In other words: we shoot at a surface that reflects the image of the viewer.
The physical rule is well known: a crack that meets another crack stops.
It does not cross it.
Time can be read in the interruptions.
The first shot opens the field.
The second must deal with it.
The following shots inherit a territory that has already been compromised.
This drawing does not only represent an enigma.
It shows how a form is gradually constructed.
A drawing is constructed in this way: step by step.
One line calls for another line.
One decision limits the following ones.
A line forces a fork in the road.
We never start from an intact space.
We start from a field that has already been affected.
In Minima que dalle, the five artists do not form a collective bound by a common aesthetic.
They are neither stacked nor aligned.
They do not sing from the same sheet of music.

They share a space.
And this space is not neutral.
Like the mirror in a saloon, it reflects gestures.
Each proposal influences the interpretation of the others.
Each work modifies the conditions under which the next ones appear.
There is no hierarchy.
There is no center.
There is propagation.
The title—Minima que dalle—further emphasizes this idea: something almost nothing, tenuous, minimal,
and yet sufficient to produce effects of tension.
One impact is enough to crack the whole.
One tiny gesture is enough to reconfigure the field.
Being a good sheriff here is not just about restoring order after the shooting.
It is knowing how to read:
where a gesture stopped,
where it was constrained,
where it influenced others.
But the mirror adds an extra dimension: the observer is also caught in the reflection.
The viewer appears in the broken surface.
Their image is fragmented by the artists' lines.
It is no longer just the story of a small group gathered for an exhibition.
It is the story of a situation where everyone acts in a field already traversed by others—and where the viewer himself is included in the crack.
Perhaps being a good sheriff, in this context, is not about imposing order, but accepting that form is constructed through successive adjustments, in a mirror that will never again be intact.

A game inspired by the residency on the Isonzo River (September 2025)

Le(Serre), Strada dell’Artigiano 26/7, Campoformido, Udine. Opening: February 6, 2026, 6:30 p.m. Open to the public: February 7–8, 10:00 a.m.–6:00 p.m.

Stamperia Westerberg, Viale Gabriele D’Annunzio 71/a, Trieste. Opening: February 20, 2026, 6:30 PM Open to the public: February 21–22, 10:00 AM–6:00 PM

Spazio Cluster Multimedialità, Viale Gabriele D’Annunzio 3, Gorizia. Opening: March 20, 2026, 6:30 PM. Open: March 21–22, 10:00 AM–6:00 PM

Featuring: Eleonora Sovrani, Francesca Cogni, Giulio Polloniato, Lenart de Bock, Maria João Petrucci, Rafhael Comodino, Tilen Kravos, Yoann Van Parys, Žiga Ipavec 

A project conceived by Giovanni Chiarot and Matteo Carli, Altrememorie. Curated by Eleonora Sovrani. Graphic and scenographic design: Francesco Bevilacqua. 

Photographs: Giovanni Chiarot

A collective creative residency combining music and visual arts. An exploration of the Italian-Slovenian border area around Gorizia/Nova Gorica. The omnipresence of a river, changing gender and name as it flows from one country to another: Isonzo/Soča. Play as a unifying force. 

A project by: Altrememorie Cultural Association
In collaboration with: Društvo Sik Cultural Association, Zeroidee APS, Quarantasettezeroquattro Association, IDA ETS, ETRAR.T.E. Association, Circolo Arci Gong, Bar Trattoria al Poeta, Kreativna cona Vrtojba
With the contribution of: Friuli Venezia Giulia Region

In Robert Southey's “The Story of the Three Bears” (1837), three bears—one large, one medium-sized, and one small—all live together in a house in the woods. As in Southey's story, the cabin hosting the exhibition also has three owners, who differ not in size but in their position along the timeline. The first to inhabit the rooms of the refuge was great-grandfather Lodovico, who in 1918 offered the belvedere to Austrian snipers and made the house a shelter and ideal firing point for Franz Joseph's soldiers. The centuries-old tree in the garden was probably planted by him. Leo was the second guardian of the hut. Lodovico's only son, he extended the building, transforming the mountain hut into his personal retreat. The fireplace room
and the bedroom where the works are displayed were the heart of his home.
Moving into the present, what is now my mountain retreat has hosted several people over the last ten years, betraying its nature as a retreat to become instead a space open to visitors. On the occasion of this tenth anniversary, I have collected a series of cherished objects in the hut, forgotten, lent or given as gifts, which will remain on display to the public for the fleeting time
of two days.

In 2023, an exhibition entitled “Close to the shops (and the stars)” was held at the Orangerie in Bastogne. It consisted of a colorful fresco on the floor, created by children over the course of four days.
A year later, I'm in the thrall of Georg Wilhelm Friedrich Hegel. I see everything in terms of antithesis. The new exhibition is therefore entitled “Close to the Stars (and to Business)”. It unfolds on the ceiling rather than on the floor. It is created over four nights, with adults, rather than during the day with children. Where the previous exhibition was in color, this one is in black and white. And from the plan, we slide towards volume. The result is a portrait of Bastogne by night rather than day.

At night, all cats are black. Everything is the same, yet slightly different. The minutes tick by, and we're somewhere between late awakening, dream, nightmare, hallucination, dream. The church is no longer necessarily in the middle of the village. The hand tries to grasp, blindly. But the project of perfect antithesis proves impossible. For reality intervenes. It puts its own spin on things. But then, where are we? Are we treading water in the thesis? Is the eternal thesis our only destiny? Or is the antithesis precisely this seasoned thesis? Or is it already the synthesis? And what does the middle class want in all this? Friedrich, may you enlighten us.